By Terry Brooks
8 centuries in the past the 1st Knight of the be aware was once commissioned to strive against the demonic evil of the Void. Now that daunting legacy has handed to John Ross--along with strong magic and the data that his activities are all that stand among a dwelling hell and humanity's future.
Then, after a long time of provider to the notice, an unspeakable act of violence shatters John Ross's weary religion. Haunted by way of guilt, he turns his again on his dread present, settling right down to construct a typical existence, untroubled by means of demons and nightmares.
But a fallen Knight makes a tempting prize for the Void, that could bend the Knight's magic to its personal evil ends. And as soon as the demons on Ross's path music him to Seattle, neither he nor someone with regards to him could be secure. His merely wish is Nest Freemark, a school scholar who wields a rare magic all her personal. 5 years previous, Ross had aided Nest while the way forward for humanity rested upon her selection among observe and Void. Now Nest needs to go back the desire. She needs to fix Ross's religion, or his life--and hers--will be forfeit . . .
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Additional info for A Knight of the Word (The Word and the Void Trilogy, Book 2)
Rowling’s Harry Potter and the Philosopher’s Stone sparks a worldwide fad of a kind never previously associated with a book. 1998 Patricia McKillip’s Song for the Basilisk demonstrates that a commodified genre can play host to extraordinary literary ambition. Sophie Masson’s The Lady of the Pool brings the work of Marie de France up to date. 1999 Jan Siegel’s Prospero’s Children revitalizes Atlantean fantasy. The boom in apocalyptic fantasies reaches its peak, demonstrating the awful extent of contemporary innumeracy.
In the most discreet variety of fantasy literature, a singular element of fantasy is introduced into this seemingly mimetic context so that its disturbing effect can be observed and measured. ” The modus operandi is convenient in several ways; most importantly, it allows readers to orientate themselves quickly and easily within l • INTRODUCTION the text. It is easier for author and reader to establish and maintain comfortable communication if they are working from a set of common assumptions, and it is useful to both if the reader can be snugly accommodated within the text before strange and bizarre things start to happen.
The 18thcentury opinions of Johann Musäus, Madame d’Aulnoy, Charles Perrault, Antoine Galland, Voltaire, Nathan Drake, and Samuel Taylor Coleridge regarding the utility and potential of literary fantasy were not much extended by the 19th-century and early 20th-century theorists who came after them, whose English representatives included Edward Bulwer-Lytton, Charles Dickens, Oscar Wilde, Arthur Machen, and G. K. Chesterton. Even critics who refused to consider fantasy literature as a subdivision of children’s literature were forced to begin their work by arguing long and fiercely against opponents who insisted that it was.